Let’s select smooth peaks brush or press B – S – P. Step 21: Now we know that pressing shift while sculpting smooth the geometry, but we can change this brush. Step 20: Similarly, you can also remember to draw size per brush. Step 19: There is also an option to turn on remember dynamic mode per brush, which will remember whether you have turned off or on the dynamic mode on that brush. Step 18: If we double click the word dynamic, then it toggles it, then the size of the draw will depend on the screen, which is useful if we want to smooth parts of the models quickly. If it is on, then the brush will scale according to the model. Step 17: Back to our face tool, when we look at the draw size, there is an option for dynamic. Step 16: To demonstrate radial symmetry, we can select a sphere tool and then activate radial symmetry with radial count on any of the axis to get some interesting effect. Step 15: When we see in the transform palette, we can see that we can also activate symmetry along the Y and Z-axis. If you want to know whether you are in symmetry mode or not without looking other side, then you can see that when we are in symmetry mode, there is a and extra circle inside of the main circle, and when symmetry mode is turned on, then that circle is gone. Step 14: Now, let’s see about brush symmetry which can be toggled on and off using the X key. You can adjust the lazy radius to increase the effect. Step 13: In the Strokes menu, there is an option for Lazy Mouse, which enables you to created decorative shapes with less precision as you can see a line along the curve you draw. Step 12: Now, when we fill the ear, the problem is gone. Step 11: To avoid this problem, go to Brush -> Auto Masking and turn on BackfaceMask. Step 10: Let’s switch to clay brush or press B – C – L, and when we fill the area near the ear, it gives us artifacts on the back. Placement, scale, color, and flow parameters adjustment can be made depending on the look you want. Step 9: Spray stroke is used to apply a random pattern of different sizes and color intensity over the cursor drag path. Step 8: Next is the stroke mode when we change to freehand though it is similar to dots mode by placing multiple instances, it also connects those instances by reducing the spacing between the dots, and it might be slower than the dots stroke. While the focal shift determines the falloff of the brush Z Intensity, on the other hand, determines the depth. Draw size determines how large the brush is. Step 7: By default, the standard brush is selected, so let’s start sculpting with it and look at some settings. Also, press Floor to activate the perspective floor grid, which can be activated per axis, and by default, Y-axis is enabled. Step 6: Enable the perspective button to which will apply perspective foreshortening to a 3D object. When you place a primitive 3D object in the edit mode, it will automatically be closed in the tool palette. This mode will allow you to sculpt the 3D object. This title guides you on how a very loose idea can be taken through to a polished production asset while giving you an insight into ZBrush and Maya to speed up your workflow.Step 5: After creating the sphere, go to edit mode. This workshop has been created with artists in mind who are looking to develop their sculpting and modeling skills with a focus on reptilian creatures. Lastly, he demonstrates how to retopologize a complex model in Maya so it’s in perfect condition for texturing and rigging. The workshop guides you through his unique technique of creating high-resolution scales and wrinkles - all sculpted by hand. He shares how to block out a creature based on these references and reveals how to sculpt natural-looking shapes using ZBrush. He starts with a rough concept and refines this based on real-life references. In this 4.5-hour workshop, Dan explains how he achieves a unique but relatable creature design. Known for his dragon and reptile-inspired creature designs, Dan dives deep into his creative process for creating a scaly creature, from a simple idea to realizing the production-ready asset ready for a visual effects pipeline. Learn how experienced character artists create production-ready creatures for a visual effects pipeline with this in-depth ZBrush and Maya modeling workshop by Senior Character Artist Dan Weiss.
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